THE ART OF UGOCHUKWU EPHRAIM KELECHI: A COMPARATIVE ANALYSIS OF TWO OF HIS SCULPTURES IN THE UNIVERSITY OF LAGOS, AKOKA.

“NKPOKITI DANCE” by Ephraim

Ugochukwu Kelechi. 2004. Fiberglass cast.

The name may not grant that evocative recollection presently. But the Artist Ugochukwu Ephraim Kelechi, (Ephraim for short for the purpose of this disquisition) remains one to watch closely. The reason may not be far from the fact that Ephraim is a commission artist whose works adorned private institutional collections and not commonly seen within exhibition halls. It is Duerden as cited in Babalola (2004) who posits that “It is my opinion that there is to be found… here a distinctive Nigerian style which should be strongly encouraged and protected… (Pg. 7).

The interest for this researcher is that among the various crowd and myriad of artists vying for attention and recognition, Ephraim stays tucked in his studio of the University of Lagos (unilag), Akoka, (the same studio that Abayomi Barber is renowned to have worked) tirelessly bending and turning metals, gathering scraps and sculpting frenzingly in such manner as if tomorrow does not exist. For the art historian certain qualities come to mind on who the next prodigy will be along the Jean Basquait [Samo] or Damian Hirst artistic storms of the 80s and 2000s. Worst still is that for the art administrator, the constant search for names to send to the various international requests for representation remains a burden. It is in this process that the researcher found himself when in 2005 the researcher wandered into the studio of the fine art students.

Since then the works of Ephraim has captured this interest. In a 1999 workshop organized by Goethe Institut, Lagos, Nigeria for journalists, the researcher had encountered an interesting response from the facilitator, a notable literary professor and media expert from Germany. On being questioned on the Nobel Prize choice for Wole Soyinka whose works were quite esoteric and intellectually demanding rather than the work of Chinua Achebe works who was observed by the questioner communicates to all in its simplicity resonating a deep cultural oeuvre. This facilitator in question had remarked that Wole Soyinka as choice for a Nobel win may be that the jury applied a holistic consideration and did not base its judgments solely on an author’s literary writings exclusively. These qualities he expanded may include such involvement as human rights struggles, political imprisonment and advocacy issues.

In arguing the relationship an artist has with his audience and the unveiling society development, William (1958) reveals that the work of the artist is an instrument of pristine inspiration compared to the receiving environment that may or may not be well attuned to acquire the creative attributes to assimilate the product lessons. He described this as “…an emphasis on the embodiment in art of certain human values, capacities, energies, which the development of society towards an industrial civilization was felt to be threatening or even destroying” since society unable to interpret the fine lines of creativity may rather feel intimidated. (Pg. 53)

Two of Ephraim’s works beautifully assail the unilag academic community very strongly. The most visible of this work is the sculpture “Nkpokiti Dance” mounted on the first round-about of the university main entrance. This is situated right in front of the sports complex. The second is the sublime repose of a seating lady “The Scholar” that is engrossed in her studies in front of the unilag main library. These two works are remarkable testament of classical romanticism. They represent the

social relationships of art and the universal truth of permanent reality.

NKPOKITI DANCE

This is a sculpture work that represents a peculiar dance style of south eastern Nigeria. In it the artist has conceptualized two figures to best characterize this message. It is a form of Kandinsky’s painting transcribed to sculpture: action and vibrancy. The work is executed in fiberglass. It is a life size cast with base. Noticeably is that it has double pedestal and exhibits excellent draughtsmanship. It shows two suspended figures in a complicated but balanced dance process. The first and lower figure lies on its back supporting the second figure that is suspended on his raised feet’s. A side schematic view will give the impression of a circular round silhouette hanging on a curved pole. The outstretched legs of the bottom figure touches and support the bended ones of the top figure precariously. However the strength of this work lies in the fundamental equilibrium of its structural balance.

The suspended figure is involved in a very complicated backward incline. Both figures have their soles touching that is reminiscent of Michelangelo’s “creation” painting on the Sistine chapel showing the finger of God almost touching Adams’ delicately, while the suspended second figure holds the legs of the supporting figure for balance. The grip is firm and resolute. The muscular strengths of the figure underneath are dexterously accomplished, primed and turgid. The main but smaller base performs double roles; along being a base, it acts as a platform of support for the figure underneath who hold firmly to it for grip and reinforcement. The artist has effusively used varied accoutrements to enhance the work. Both figures are kitted with head gears of skeletal structure. The work is a complete three dimensional success as a stroll around it displays different perspective and view. No two sides look the same even though a sideways view shows a mirror repeat of what is on the other side. It is an eloquent recount of performance art in the sculpture genre.

THE SCHOLAR

“The Scholar” by

Ephraim Ugochukwu Kelechi. 2004. Fiberglass cast.

THE SCHOLAR

The scholar is a romantic work of immeasurable creative ingenuity. It answers to Blake as cited by William (1958; Pg. 55) “a Representation of what Eternally Exists, Really and Unchangeably”. It is a piece that echoes the thematic thrust of academic quest. It answers to Babalola (2004) position that it represents ‘…the disposition or modification of things by human skills to answer the purpose intended...” (Pg.2). No wonder the work is situated in front of the main university library. The moral of the scholar to the academic community is reaffirming the importance of study and the reasons for being within the walls of the university. Babalola further reiterated Schopenhauer interpretation of art aspiring to the condition of music.

This is a fiberglass sculpture of a seated female figure. She is in a relaxed and very calm pose of study. The artist has captured a romantic moment of reality. The figure is writing in an open book and seated on a tree trunk. The open book rest on her laps. Her carriage is elegant and her posture is aquiline. Her gaze is far away and distant. She is adorned with ornamentation and wears earrings and necklace but no further accoutrements. Her sandals are simple and her hair is pony tailed that is bunched together in the traditional style of hair parking. As one hand writes with a pen, the other delicately supports the book. Her balance is poised as one leg is on the ground for stability while the other beguilingly is supported behind the frontal left leg. The folds of the drapery are strikingly and masterly sculpted. The resultant flow is guided by the shape of the seating model with creases and cleavages well pronounced.

The work is mounted on two monumental books as base. This base is finished in white and black while the work has a bronzenated tactile appearance. This particular work depicts the skillfulness of the sculptor. “The scholar responds” to Williams’ ‘imitation of the universal reality” (Pg. 56). It is dated 2004.

CONCLUSION

Modern and first world nations that recognize the very importance of environmental esthetics coupled with the relevance of the sculpture genre to measure and interpret developmental process never fail to extensively apply it in all its ramification. This may be the intention of the unilag management in the continue sprouting of sculpture works that dote the university’s landscape. Once a system has achieved enlightenment and refinement, art, especially sculpture becomes pronounced as found in civilizations like Babylonian, Egypt and Greek. Ephraim Kelechi Ugochukwu no doubt has applied this Romantic approach to penetrate the doctrine of this salient conviction. The characteristics of this conviction “of the artist seeking to generalize their skills into the common property of imaginative truth” can be seen in the poetry of Haydon of December 1815 as cited by William:

High is our calling, Friend! – Creative Art…
Demands the service of a mind and heart
Though sensitive, yet in their weakest part
Heroically fashioned – to infuse
Faith in the whispers of the lonely Muse
While the whole world seems adverse to desert. (Pg. 57)

The heroic attribute of Ephraim’s works lie on how his works have characteristically come to define the puerile fusing of simple truths. The humanity they contain and the rather emphasis on artistic principles to lay bare what is there but not seen by the naked eye until the deft skills of an artist reveals them. They prophetically resound these to the society to urge them on or help them redefine common reasons.

What strongly binds both works is the conceptual direction in what Babalola (2004) best describes as “...the identification of opposites; calm against turbulence, order against chaos, and serenity against anarchy” (Pg. 87). Both works demonstrates the artist grasp of anatomical competency that gives them their substantial potency.

Post script

While “Nkpokiti dancer” may soon be lost due to lack of maintenance its gradual deterioration is appalling and may be the resultant consequence of the wear and tear of the harsh weather. Noticeably is the split along the seam line and the exposed armature. The weather abrasion is telling hard on the surface and the gel coat is completely damaged. For this work not to be lost like the “Queen Amina” statue that was in front of the National Theatre entrance, urgent steps need to be taken to arrest further deterioration.